When he married her, she was a very young girl, almost a child.
Now she is an accomplished woman, blessed with all the talents. They like to
play and surprise each other. Today he finds her lying on the bed in the
pleasure room. Her face is hidden by her splayed black hair. Slightly worried,
he approaches. The wife has heard him and, with a swift move, she raises her rump.
The fabrics fall away, revealing her superb buttocks. Without delay, savagely,
like a stag in a rut, the husband mounts his wife. Suddenly, filled with scruples,
he breaks off. Then the wife, with a move of her hip, encourages him and,
in a dancing rhythm, she moves along with the back and forth motion
of her man, who wails with pleasure.
And now for the love postures
with which sculptors adorn our temple walls.
When a couple make love standing,
or leaning against a wall or a pillar,
it is called Sthita (Steadied).
When the woman sits in her lover's
cradled hands, her arms around his neck,
thighs gripping his waist,
her feet pushing back and forth against a wall,
it is Avalambitaka (Suspended).
When, catching and crushing your lover
in the cage of your arms,
you force her knees apart with yours
and sink slowly into her,
it is Dadhyayataka (Churning Curds).
When she leans against a wall,
planting her feet as widely apart as possible,
and you enter the cave
between her thighs, eager for lovemaking,
it is Sammukha (Face-to-face).
If, as you lean against the wall,
your lady twines her thighs around yours,
locks her feet to your knees,
and clasps your neck, making love
very passionately, it is Dola (the Swing).